關於 so never lie you will remember ，我們在網路上蒐集到這些相關的討論、資訊與評價

I was attacked on messenger yesterday, by some guy who went through my FB stories and decided that one of the Tiktok videos that I shared was racist or offensive or something. The way he wrote to me was as if he was a disgruntled authority figure, and I was some heathen that had no inkling of what was right and wrong. I tried to remain polite. I even told him a little lie about appreciating his feedback. But he was unrelenting. The endless palaver became exceedingly tiresome.

Yeah, the Tiktok I shared on my story DID border on bad taste. It was gallows/morbid humor. Some people like it. Some don't. But anyone with half a brain would've known it was in jest. I can't help it that he was offended by a Tiktok. It's not like I threw it in his face. This is not something that shows up on his newsfeed either. He actively went on to my stories to view it. I told him that I didn't agree with his opinion. But he refused to let it go, so I reasoned that if he didn't like it, he shouldn't watch. Or he could unfollow me. Or even better, he could choose to unfriend me. He was still unhappy, so I told him, "Never mind, I'll do it for you.". And I blocked him.

Next thing I knew, he went on my Instagram to attack me because he was so aghast that I had the audacity to block him. He tagged me on stories and called me a "piece of shit" yadda yadda yadda and urged his friends to unfollow me. I can't remember what else he said. So I had to report him on Instagram and his stories were quickly taken off. It was just all a lot of bother for something petty that could have totally been avoided.

I'm an adult. And I am adequately intelligent. I know what's appropriate and what's not, and I know what's funny and what's not. And I don't expect everybody to agree with me. But I will not be "schooled" by some uneducated rube from God-knows-where, who can't even string a coherent sentence together.

Also, anyone who dislikes me or my stories or my posts really doesn't have to tolerate any of it. They can exercise their God-given right to unfollow me or unfriend me, or even block me. It's as simple as that.

Thank you for attending my TedTalk for today.

#Rozz
#Music
#Live
#Singer
#Vocalist
#Jazz
#Soul
#DragPerformer
#BeYou
#BeTrue
#BeProud
#NoFear
#PRIDE
#LGBT
#LoveIsLove
#LoveYourself
#BornThisWay
#PurposeBeforeFame
#ServiceBeforeCelebrity
#PhotoOfTheDay
#InstaGood
#IGers
#PicOfTheDay
#Swag
#LifeIsGood
#InstaPic
#InstaDaily
#Selfie
#InstaMood
#BestOfTheDay

Satu hari nanti Allah akan ambil mak kita balik..
Waktu tu kita kena terima..
Dan kita sebagai anak jangan duduk diam je..
Memang sedih.. tapi kena buat sesuatu sebagai penghormatan terakhir utk mak..
Anak-anak perempuan pergi mandikan mayat mak.....
Continue ReadingOne day Allah will take our mother back..
At that time we have to accept..
And we as children don't just sit quietly..
Really sad.. but have to do something as the last respect for mom..
Girls went to bathe mom's body..
Look at mom's face.. look at it for a long time..
This is the last time I want to see..
After this I can only look at the picture..
Touch softly mom's body..
Mom's body softly caress..
Speak in the heart...
′′ This is the person who gave birth to me..
The one who raised me..
My mother educated me until I became a person..
Mom taught me to be a good woman..
Even though sometimes I minimize mom's heart,
But mom never mad at me..
Mom still advise me..
After this I don't have a mother anymore..
Later one day I will be a mother..
I replace my responsibility just like mom...
But at that time mom was gone..
I can't be spoiled with mom anymore..
I have no place to tell stories..
Before this what was the secret I shared with mom..
Mom... I love you mom..
What if after this I miss you mom?
What if I need a mother??"
Take the last chance..
Hair swipe mom... just like mom swipe our hair..
Kissing mom's cheeks.. just like mom kissing our cheeks..
Look at mom satisfied..
This is the last time we get to see mom's face..
There will be no chance after this..
Let's wear mom's new clothes together..
Look at mom..
Is mom beautiful?
Now the boys..
Don't be when mom is ready to wear shroud,
We are still busy outside the house..
Going home..
Looking at mom's body..
Think about it for a long time..
This is the last time we get to see mom..
This is the last time..
At this time we can't kiss mom's hand anymore..
We can only kiss mom's cheeks for a while..
This is the last time we get to kiss..
Mom smells so good..
After this we don't have a chance to kiss mom..
Speak in the heart..
′′ No matter how bad I am, mom never throw me away..
No matter how stubborn I am, mom never let me eat..
To mom, I'm still her child..
Mom used to throw up..
Mom, make my pitches..
Mom support me..
Mom fed me eating..
Mom is mad at me because I'm naughty..
But mom never hates me..
After this I can't kiss mom anymore..
I can't lie on mom's lap anymore..
When I used to eat, mom waited to accompany me at the table..
Mom, look at her child having an appetite..
After this I can't taste mom's cooking anymore..
Mom.. where's mom's child looking for a replacement?
Mom... have you forgiven my sins, mom???"
When are you going to pray for mom's body,
If you can't be a priest, just become a makmum..
Hurry up at the back of the imam..
Mom used to ask us to pray..
Today we do a corpse prayer for mom..
When mom's body wants to go out of the house, we quickly hold mom's coffin..
Let us bear it.. if possible all brothers and sisters will bear it..
Don't give others.. This is our mother..
He used to support us..
He's the one who brought us in his stomach..
Won't we bear his body?
When I was walking, I brought my mother's body to the grave, remember the time when mom held our hands
When we only know how to walk..
Mom didn't let us fall at all..
Now we want to send mom away..
Until the grave, don't let others celebrate mother's body..
Brothers and sisters jump in the pores..
Celebrating mom's body.. Let us open the shroud..
Let us turn mother's body into qibla..
Let us put the ground pillow behind mom's body..
Mom used to make sure we sleep with pillow..
There is a blanket...
Don't get bitten by a mosquito..
This is the last time we get to see mom..
There's no more after this.. At this time if we have sins with mom, it's too late to ask for forgiveness..
Let us manage mom's body...
Not someone else..
Talk in the heart..
′′ Mom.. this is the last time I got to see mom..
This is the last time I got to hold mom..
After this I can't see mom anymore..
I can't hold mom anymore..
I left mom here..
Mom wait for me eh..
Until the time I will see mom here..
Meanwhile mom is sitting here..
I return my mother to God..
Later I pray for mom.. I send charity for mom..
Mom don't worry.. I promise mom.."
Listen to the talking reading for our mother..
This is the first time and the last time we heard it.. Just came back from mom's grave,
Quickly pray for mom..
′′ Ya ALLaH.. I accept you taking my mother..
You forgive my mother's sins.. She used to give birth to me.. She taught me..
She loves me,
Ya ALLaH.. You love him anyway... You accept the charity of mom..
You expand his grave.. You raise his position Ya ALLaH.. You banned the fire of hell for my mother, Ya ALLaH.. Make my mother Your noble servant.."
And then, remember all mom's services..
Remembering what mom's advice is..
Remember all mom's messages..
Mom asked to take care of siblings..
Don't fight..
Pity mom..
He's not easy there when his children are enemies..
Mom can only cry from afar..
We are the ones who are left don't forget about mom..
Sending rewards for mom there..
Pity mom..
If we die, mom won't stop praying for us.. because mom loves her children..
Won't we be so evil with mom?
We won't remember but we didn't do anything?
That's our mother.. Our only mother..
Not someone else..

Credit: @[307834932588786:274:Ustaz Ahmad bin Yahaya]Translated

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

Yes, good evening everyone is Civa. I tried to ban Japanese today. By the way, this sentence is translated into English by Google Translate. As expected, if I translated all the text in the summary column myself, I would die from fatigue, so I used a machine this time. Recent technology is amazing!
But I don't think the translation is perfect yet, so if you put this sentence in Google Translate, it may not be a good sentence. I don't know.
But I don't think anyone translates this sentence, so I want to convey something like a hidden message.
What should I do.
That said, I don't want to convey anything in particular, so I'm gonna finish it.
Is a lie.
If anyone translates this sentence, let them know.
Thank you for your effortless use! ! ! ! ! !
Then from here I will write the lyrics of the lemon. I am happy that the face of the person who works hard and translates comes to mind. Hahaha

How good was it in a dream
I still dream about you
As if you forgot what you forgot
Dust of old memories

That there is happiness that will never return
Finally you told me
The dark past that I hid without saying
If you don't, you will stay forever

Surely no more
I know there isn't

Even the sadness of that day, even the pain of that day
I loved it all--with you
I can't stay on my chest The smell of bitter lemon
I can't return until the rain stops
You are still my light

Traced your back in the dark
I remember the outline clearly
Every time I encounter something I ca n’t accept
Only tears overflow

What were you doing-what were you watching
In a profile I don't know

Somewhere you are now like me
Give me tears if you're in loneliness
Please forget about me
Enough to wish that kind of thing
You are still my light

Than I think
To you who were in love
As you think from then
I can not breathe
I was so close to you
Like a lie
Very unforgettable
That's for sure

Even the sadness of that day, even the pain of that day
I loved it all--with you
I can't stay on my chest The smell of bitter lemon
I can't return until the rain stops
Like one of the cut fruits
You are still my light

今日は米津玄師の「Lemon」を英語でお届けします♪
Enjoy!

～♪～♪～♪～♪～♪～
曲情報 / SONG INFO
～♪～♪～♪～♪～♪～

米津玄師／Lemon
Kenshi Yonezu / Lemon
Released 2018
Music/Lyrics: Kenshi Yonezu
English Lyrics: Rebecca Butler Watanabe

～♪～♪～♪～♪～♪～
リンク / LINKS
～♪～♪～♪～♪～♪～

■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

Even if our love was just a dream, how sweet a dream it was
Even after all this time, it’s only you that I’m dreaming of
Like I’m coming home for something I forgot to bring with me
Now I sweep layers of dust off of my rusty memories

There’s a certain kind of happiness that doesn’t happen twice
That’s the last lesson you taught me ‘fore you walked out of my life
And the darkened past I hid from you, not ever speaking of
Will remained darkened forever more if I’m without your love

There’s no one that can hurt me
More than when you deserted me
Where my heart used to be there’s an empty hole

Even all the sorrow of that day
Even all the tears and all the pain
Baby, I loved every single thing
As long as you were with me
In my head the bitter scent of lemon
Just won’t go away and leave me be
And I can’t go home tonight until the rain no longer pours
You will always be the light that brightens my entire world

In the dark of night, I traced your back with gentle fingertips
I can still picture your contour and the soft smile on your lips
Every time I face a situation that is hard to take
I am blinded by the endless teardrops streaming down my face

Tell me, what were you playing at?
What were you always looking at
With that faraway sideways glance that I never saw?

Baby, if you’re somewhere right now cryin’
Drowning in a sea of tears like I am
Feeling so alone you want to die and
Thinking you might have regrets
Put a pin in that unhealthy thinking
If you can forget me, please forget
That is what I’m wishing for you from the bottom of my heart
You will always be my shining light no matter where you are

I was more in love with you
Than I ever really knew
Since the day we parted ways
I can hardly breathe the same
Though we were together all that time
It almost feels like a lie
I will remember you forever
That’s all that I know for certain

あの日の悲しみさえ　あの日の苦しみさえ
ano hi no kanashimi sae ano hi no kurushimi sae
そのすべてを愛してた　あなたとともに
sono subete wo ai shite'ta anata to tomo ni
胸に残り離れない　苦いレモンの匂い
mune ni nokori-hanarenai nigai lemon no nioi
雨が降り止むまでは帰れない
ame ga furi-yamu made wa kaerenai
切り分けた果実の片方の様に
kiri-waketa kajitsu no katahou no you ni
今でもあなたはわたしの光
ima demo anata wa watashi no hikari

曲目收錄於Before After
2017 2nd EP -『What Do You Want To Find ?』

詞曲：彭文漳
編曲：Before After

無止境的漩渦 在黑暗中剝落 我們都需要出口
凋謝的眼眸 看穿了枷鎖 已不存在的悸動
所以選擇跳脫

過度盲目追逐 時間滴答的走 不回流
吐出相同氣息 平行空間的那 曙光
面對 這混沌世界 唯一 這困獸之鬥
而光線背後 你的影子 呼喊著自我
is coming soon

What do you want to find
Why do you want to lie
I can't live without you(we won't regret)
So what do you want to find
Just you and I
I can't live without you(we will be brave)
But in the end
we will never ever be apart
please remember
we will always by your side

In our life
Still fighting for me
We won't give up
I'll raise my hand to the ends
-------------------------
Recording&Mixing：Chris Chen
Recording Studio：112F Recording Studio
Mastering：Chris Chen
Art Director：徐得貴
-------------------------
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